By Berg, Alban; Bernhardt-Kabisch, Ernest; Floros, Constantin
The principal aspect of this booklet is the belief that the artistic paintings of Alban Berg, which lately has moved to the leading edge of scholarly curiosity, is basically rooted in autobiography, in order that as a result you'll be able to achieve entry to the song through learning the inner biography of its author. as a result, the 1st of the 3 elements of this quantity outlines a personality portrait of this nice composer. half considers the stipulations proper to a deeper knowing of Berg and of the second one Viennese college often. partially 3, then, Berg’s key works could be analyzed and semantically deciphered when it comes to his inner biography. The research is predicated not just at the resources in print but additionally at the wealthy unpublished fabric. Alban Berg was once incapable of composing with no application. He wanted an extra-musical stimulus. With him, own adventure was once the integral of the inventive strategy: the autobiographic reference was once all-important for composing
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Extra resources for Alban Berg: Music as Autobiography. Translated by Ernest Bernhardt-Kabisch
But his music encountered little resonance in Austria, which embittered him greatly and frequently prompted sarcastic remarks. Undoubtedly he had numerous resentments against Vienna. Thus he wrote to Helene on March 9, 1934, that he would permit a concert performance of Lulu in Vienna only after the planned premiere in Berlin. He added sarcastically: “In the friendly foreign countries (USA, England, Holland, Belgium, France, Czechoslovakia) concert performances can begin right away. ” And he added the following jingle (perhaps with apologies to Friedrich Hollaender and the “Blue Angel”) (ABB 641): Mein Apparat ist ja so ganz My radio is altogether Aufs Ausland eingestellt, Tuned to lands abroad Denn das ist meine Welt That alone is my world Und nicht Wien!
In the Doll House letter to Hermann Watznauer already cited, Berg disclosed that many of the books he had read had elicited, even brought about, his “Nature worship, for which he thanked and venerated them (“from Goethe down to Altenberg”). He added that he owed his image of women, his critical attitude to the press and much besides “for the most part” to his reading of Goethe, Ibsen, Wilde, Kraus and Weininger. The remark suggests that around 39 1906 these five authors were the fixed stars in Berg’s intellectual heavens (Weininger’s famous Geschlecht und Charakter (Sex and Character) had appeared in 1903 and caused a sensation).
Berg was particularly exasperated about the Viennese music criticism, which feuded against the works of Schönberg and atonal music generally. Furious about the polemical reporting, he mounted a counterattack in 1920 with the essay “Wiener Musikkritik” (Viennese Music Criticism), in which he took critical issue with two newspaper articles by Julius Korngold and Dr. Elsa Bienenfeld. He censured the carelessness with which both handled “musical things” and charged them in so many words with inability and impotence.